Carey BELL - Good Luck Man 1997

Carey BELL - Good Luck Man 1997

Blues

Carey Bell is an effective and surprisingly versatile singer but it is his powerful harmonica that really stands out. One of the last of the major Chicago blues harpists, Bell (an alumnus of the Muddy Waters and Willie Dixon bands) had led his own groups for most of the previous 30 years when he came out with this disc. His longtime guitarist Steve Jacobs offers some concise and stinging comments but the leader is virtually the whole show on his CD, which finds him leading a tight six-piece group. Nothing too unusual occurs but the music definitely has plenty of spirit. By Scott Yanow. AMG.
**
The world needs more Carey Bells. With his fat tone, outstanding phrasing and great song selection, this man is truly worthy of legendary status among harmonica players, or blues men in general, for that matter. This man, and those like him, are the ones who will keep the blues harp tradition alive for years to come.
"Good Luck Man" is Bell's follow-up to the outstanding "Deep Down." With the same harp skill and strong sense of song selection, Bell turns out a record which equals, and in some ways surpasses, its predecesor. Bell opens with a great, funky rendition of Muddy Waters' "My Love Strikes Like Lightening" which sets the standard for the rest of the album. This disc is highly enjoyable throughout as Bell showcases some outstanding originals and fine covers. Throughout all 14 tracks, Carey gives us all the great blues we want, and then some.

Carey Bell is clearly among the greatest living harpists (his only competition in my opinion being James Cotton and Sugar Blue). He has the fattest tone out there and excellent phrasing to boot. This record demonstrates those skills well, as Bell blows up a storm on all pieces. Particularly memorable are the instrumental "Bell Hop" and the elegant, low down "Hard Working Woman," the latter demonstrating Bell's unsurpassed skill on chromatic harp.

Overall, this is an outstanding album. True, it feels a bit like a sequel to "Deep Down," but given the quality ofmusic on both records, I don't think there can be any just complaints. "Deep Down" may still be the essential first purchase from the Carey Bell catalog, but this one would definatly be the next stop on the list.
By Alex Harpskier.
**
Carey Bell- (Vocals, Harmonica)
Will Crosby- (Guitar)
Johnny Iguana- (Piano)
Johnny B. Gayden- (Bass)
Willie Hayes- (Drums)
**
01. My Love Strikes Like Lightning 4:10
02. Love Her, Don't Shove Her 3:25
03. Sleeping With The Devil 3:48
04. Hard Working Woman 4:38
05. Bell Hop 3:42
06. Bad Habits 4:49
07. Good Luck Man 5:24
08. Hard Hearted Woman 3:55
09. Going Back To Mississippi 3:42
10. I'm A Business Man 3:22
11. Teardrops 7:08
12. Brand New Deal 4:20
13. Good Lover 3:50
14. Double Cross 2:46
**

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Earl KING and Roomful of Blues – Glazed 1986

Earl KING and Roomful of Blues – Glazed 1986
BT 1035

Blues

Earl King, a native of New Orleans, was a flamboyant performer, singing with bluesy ease and playing guitar solos that curled and sliced across the rolling New Orleans beat. He recorded hundreds of songs that were rooted in both the 12-bar blues and New Orleans lore, with lyrics that could tell wry, compressed stories or come up with wild-eyed imagery. While Earl King performed widely, his songs also traveled by way of other musicians: Jimi Hendrix, who recorded King's ''Come On'' as ''Let the Good Times Roll,'' the Meters, who recorded ''Trick Bag,'' and Professor Longhair, who played piano and had the performer credit on the original 1964 version of King's ''Big Chief,'' although it featured King's vocals and whistling. The Professor Longhair recording and remakes of ''Big Chief'' by performers including Allen Toussaint and Dr. John are still heard every year at Mardi Gras time.
During the 1980's and 90's, King made albums for Black Top Records, including a 1986 collaboration with the band Roomful of Blues, ''Glazed,'' which was named because he made a Tastee Donuts shop his regular office and hangout. ''Glazed'' was nominated for a Grammy Award.
**
A1. It All Went Down the Drain   4:31
A2. Your Love Was Never There   4:52
A3. Everybody's Got to Cry Sometime   3:07
A4. Love Rent   4:10
A5. Three Can Play the Game   3:33
B1. Iron Cupid   3:11
B2. Somebody's Got a Tail   3:53
B3. I Met a Stranger   3:13
B4. Mardis Gras in New Orleans   3:05
B5. There's Been Some Lonely, Lonely Nights   3:17
B6. One Step Beyond Love   3:37
**

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Joni MITCHELL - Ladies of the Canyon 1970

Joni MITCHELL - Ladies of the Canyon 1970
RS 6376

Jazz

Joni Mitchell's third album offers a bridge between the artful but sometimes dour meditations of her earlier work and the more mature, confessional revelations of the classics that would follow. Voice and guitar still hew to the pretty filigree of a folk poet, but there's the giggling rush of rock & roll freedom in "Big Yellow Taxi," and the formal metaphor of her older songs ("The Circle Game," already oft-covered by the time of this recording) yields to the more impressionistic images of the new ones ("Woodstock"). The dark lyricism of her earliest ballads is intact (on "For Free" and "Rainy Night House"), yet there's a prevailing idealism here that sounds poignant alongside the warier, more mature songs to come on Blue and Court And Spark.
By Sam Sutherland.
**
With her second album CLOUDS, Joni Mitchell established herself as an artist who was here to stay. LADIES OF THE CANYON affirmed her status as one of the most important female artists in music history. Like most artists, Joni was just getting her feet wet with her first two albums, but it was on her third that she really blossomed. For the first time, Joni sings with the right emotions that her songs often call for. Songs like "Willy", "The Conversation", and "The Arrangement" are short but difficult songs that accurately portray the hardships of love and romance. Another prominent subject is that of the loss of innocence, and Joni brings to it her distinctive brand of poetry. The sad introspection continues on songs like "Woodstock" (not the CSNY version, but in a slower, more dirge-like sound), and "The Circle Game" (which for an almost-20 year old man like me rings all too true). In fact, "The Circle Game" might be the greatest song ever written about coming of age. CANYON's best-known song also deals with the album's prominent subject of time passage: "Big Yellow Taxi". Anyone who thinks Joni is all about the feminine point of view of life's trials and tribulations will probably be shocked by this song that takes a lighthearted, funny approach to a subject that would often get drowned in the emotiveness typical of folk singing/songwriting. Joni's expression at the end of the song is priceless! As her career progressed, Joni Mitchell would get even more personal and introspective. But LADIES OF THE CANYON is the perfect document of a young woman and her approach to life, love, and the pursuit of happiness.
Eric N. Andrews.
**
Joni Mitchell- Guitar, Piano, Vocals
Teresa Adams- Cello
Paul Horn- Clarinet, Flute
Jim Horn- Baritone Sax
Milt Holland- Percussion
The Saskatunes- Bop Vocals
The Lookout Mountain United Downstairs Choir- Chorus on The Circle Game
Don Bagley- Cello Arrangement
**
A1. Morning Morgantown 
A2. For Free 
A3. Conversation 
A4. Ladies Of The Canyon 
A5. Willy 
A6. The Arrangement 
B1. Rainy Night House 
B2. The Priest 
B3. Blue Boy 
B4. Big Yellow Taxi 
B5. Woodstock 
B6. The Circle Game 
**

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Archie SHEPP - The Magic of Ju-Ju 1967

Archie SHEPP - The Magic of Ju-Ju 1967
AS-9154

Jazz

On this 1967 Impulse release, tenor saxophonist Archie Shepp unleashed his 18-minute tour de force "The Magic of Ju-Ju," combining free jazz tenor with steady frenetic African drumming. Shepp's emotional and fiery tenor takes off immediately, gradually morphing with the five percussionists -- Beaver Harris, Norman Connor, Ed Blackwell, Frank Charles, and Dennis Charles -- who perform on instruments including rhythm logs and talking drums. Shepp never loses the initial energy, moving forward like a man possessed as the drumming simultaneously builds into a fury. Upon the final three minutes, the trumpets of Martin Banks and Michael Zwerin make an abrupt brief appearance, apparently to ground the piece to a halt. This is one of Shepp's most chaotic yet rhythmically hypnotic pieces. The three remaining tracks, somewhat overshadowed by the title piece, are quick flourishes of free bop on "Shazam," "Sorry Bout That," and the slower, waltz-paced "You're What This Day Is All About."
By Al Campbell. AMG.
**
Bass- Reggie Workman
Drums- Beaver Harris , Norman Connor
Percussion- Dennis Charles
Percussion [Rhythm Logs]- Eddie Blackwell
Percussion [Talking Drums] - Frank Charles
Producer - Bob Thiele
Tenor Sax- Archie Shepp
Trumpet, Flugelhorn- Martin Banks
Trumpet, Trombone- Michael Zwerin
**
A. The Magic Of Ju-Ju 18:34
B1.You're What This Day Is All About 1:47
B2.Shazam 4:43
B3.Sorry 'Bout That 10:08
**

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Joe ZAWINUL & Trilok GURTU - Duo,Glasgow International Jazz Festival 1994

Joe ZAWINUL & Trilok GURTU - Duo,Glasgow International Jazz Festival 1994
Old Fruitmarket
Bootleg

Jazz

There is a bit of saturation on a couple of tracks but it's not too bad. Track 3 Goose Bumps is split in two because of a tape flip. There was real technical problems with Zawinul's keys at the beginning of the show, that's why one can hear them dropping in and out and the audience applauding when it's fixed. I've left the recording in its original form. The editing was done at the gig by the original taper.
Any help with the setlist and exact date would be appreciated.
The original DAT tape was stolen (and probably destroyed) along with a collection of fusion bootlegs from around this time. Some copies I made on cassete in 1994 are all that remain. Eternal thanks to Ricky, the original taper, this one goes out for him wherever he might be.
May I be as bold as to say that this was definitely one of the greatest gigs I ever had the privelige to attend!
**
Joe Zawinul- KeysVocals
Trilok Gurtu- Perc.
**
01. The other Tune
02. !
03. Goose Bumps
04. Goose Bumps (Continued)
05. Morning Dance
06. (Tabla talk solo)
07. !
08. (Encore)
**

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Branford MARSALIS - Dark Keys 1996

Branford MARSALIS - Dark Keys 1996

Jazz

Dark Keys is Branford Marsalis' first major solo album since taking a leave from recording to be the musical director of The Tonight Show in 1993. Instead of following through with the hip-hop inclinations of Buckshot LeFonque, Marsalis has returned to traditional jazz, yet this is far from standard bop. Marsalis pushes at the borders of post-bop, adding elements of hip-hop and rock & roll, making for an adventurous and exciting listen. Occasionally, his experiments are unsuccessful, yet they are never less than intriguing.
By Leo Stanley, All Music Guide.
**
Joe Lovano- Tenor Sax,
Reginald Veal- Bass,
Jeff "Tain" Watts- Drums,
Kenny Garrett- Alto Sax,
Branford Marsalis- Tenor,Soprano Sax.
**
01. The Dark Keys Branford Marsalis 10:44
02. Hesitation Branford Marsalis 6:01
03. A Thousand Autumns Branford Marsalis Trio 6:23
04. Sentinel Branford Marsalis 8:54
05. Lykeif Branford Marsalis 6:08
06. Judas Iscariot Branford Marsalis 7:52
07. Blutain Branford Marsalis 7:41
08. Schott Happens Branford Marsalis 8:20
**

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Ahmad JAMAL - Live In Paris 1996

Ahmad JAMAL - Live In Paris  1996
Recorded live on October 26, 1996 by the
Radio France Mobile Studio at Salle Pleyel in Paris.
Mixed at Radio France, October 1998

Jazz

In this glorious live document from 1996, the master pianist/composer/bandleader breaks from the trio format to feature guitar, violin, the great Manolo Badrena on percussion, and the thrilling sax work of George Coleman.
**
Bass- Jeff Chambers
Drums- Yoron Israel
Guitar- Calvin Keys
Percussion- Manolo Badrena
Piano- Ahmad Jamal
Tenor Sax- George Coleman
Violin- Joe Kennedy Jr.
**
01. Bellows 14:09
02. Patches 11:04  
03. Autumn Leaves 12:02  
04. Devil's In My Den 12:23  
05. There's A Lull In My Life 9:48
**

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